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Mandolin, Guitar and Banjo OFFICIAL ORGAN

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Mandolin, Guitar and Banjo OFFICIAL ORGAN 1935 -1 7 DEVOTED TO TH E INTEIlESTS OF THE Mandolin, Guitar and Banjo OFFICIAL ORGAN OF THE AMERICAN GUILD OF Banjoists, Mandolinists and Guitarists VOL. II. 1l0 STO N, OCTOBE R, 1909. NO·4· ( DET~OIT CONSER.VATOR.Y MANDOLIN OR.CHESTRA. Thl. oreh •• tr. wa. orlllanl •• d In Oclob.", 1908, aQd h •• a l"•• dy mad •• v.r ,. f.vorable Impre.alon In De troll mu.leal elrele •. Durlnlll ih. pa.' •••• on Ih . oreh •• I". wa. In 111" ••1 d.m.nd ' or eone.rt work .nd the r.cepllon. lendered II wer e proo' con c lual •• thai tb. mo.' erlllo.1 .udl.neea .1wa,. ••njoy the eh."mtnlll e ff.e t. orr.".d b,.. w.Ulr.ln.d m .ndolln orehe.lr •. An allraell.e reperlolre of 1II00d •• Ieellon. I. b.lnlll .equlr.d and un de" the e . pable le.dershlp of Ale.ander O. '011. who. b .,. the way. I. an ••eellenl m.ndolln· I••• Ihe lulu". welfa". 0' th. oroheatr. I. mo.t c.rtalnly •• au".d. Th. m.mb.rs .r.1 MondoUn •• /Iot.adame. H . B . Hili. Way Mltehell. MI•••• LIIII. n Squlr •• H lrrle t D.vy. 5,.h'la M. lhlld. M.d• • E. POlla • Nlnnl. Soeall. /Iot ••• r • • Alexande" G. Polt. Har r,.Olb.on. Ev.r.1I N. Shahan. O,orllla L everen ll. Auslln C . D. le. 1\. 8. J ohn.on. William Sunl.YI Mandola, H . B . Hilil Gultare. F"onk Wrllht. Arlhur Wrllht; nule. N. Dond. ro: p lano. 1141 .. Glad,.. D.ndell. ( 4 Tbe Crescendo THE MANDOLIN ORCHESTRA By Herb.r~ Forrell OdeU (Conltnutd from SepttlllMr CClESCENbOl must know its peculiarities, its tone color and its power, The violon- cello is usually the otherwise 'cello parts in his arrangements will predominate VIOLON.CELLO next obbligato instrument to be added in tone power over the man10lin. There was at one time to those already mentioned, although an understood rul ~ in regard to the 'cello in arrangi ng for in some orchestras where there is a manda.cello, it is not the regular orchestra which was "don' ta ke the 'cello necessary toh ave violon-cello or vice versa. In many away from the double bass part unless you have some­ pieces the violon-cello plays practically the same part as thing for it to do." This rule may still obtain to a ct' rtain the manda-cello. In large orchestras both in !»iruments are extent, but a new rule in' use by the more modern com­ frequently used. The violon-cello, having such a tremend­ posers is "find somethi ng for the 'cello to do or om it it. " ous carrying power, m.ust be very carefull y played in If a mandolin orchestra cannot have in its instrumen­ mandolin orchestras. In an orchestra of Qrdinary size the tation a mando-cello it certainly should have a violon-cello 'cello may well be played with the mute thus reducing its but it woul d be better if it could have both instruments. carrying power somewhat and bringing its tone into closer The correct use of the 6anjo in a mandolin balance with the mandolins. The lower tones of the 'cello BANJO orchestra is a complex question for any director when playing on the \.lass notes with the guitar or piano to decide. The b.1. njo to a certain extent, are very powerful, ,therefore a 'cell o player playing in the represents the brass section of the regular orchestra but mandolin orchestra should not play with his full power but yet as used in the mandolin orchestra generall y does not play should always keep in mind the fact that the mandolins do exactly the same part as the brass in the regular orchestra. not have the carrying power of the regular stringed As a matter of fact, in small mandolin orchestras, the banjo instruments. may well be om itt e~fr om the instruments used.. In large An excellent effect is to play the 'cello pizzicati when orchestras, however, numbering from ten instruments up, playing on the bass note~ with the guitar or piano. Another the banjo is very effective on Obbligato parts providing the good effect is to have the 'cello play long low sustained bass parts are carefull y arranged and the instrument is used notes, especially in pieces to be played softl y. FrequEntly wi th judgment. A peculiar pOi nt about ba njo players in the 'cello may be employed on the important counter strai ns general is the fact that they always seem anxious to play whicjl are in the mando-cello parts. It is in this kind of a louder than anyone else. The instrument is capable of pa rt that the 'cello is extremly effective, its beautiful sus­ producing some very fine soft effects and 1 often wondtr la'ned quality of tone bringi ng out the counter strains so why teachers or orchestra leaders allow the tone of this nicely. instrument to stand out SO prominently when used as an In a medium sized organi zation, where the r ~ are both obbligato for a mandolin orchestra. mllndo-cellos and violon-cellos and a certai n prominent In many orchestras the banjo is a llowed to play on the stra in is to be played by both of these instruments, I fi rst mandolin part thus doubling the, melody usua ll y an believe it is sometimes better to omit one or the other of octave lower, .the mancl.olin having the sustained quality of the two instruments for the reason that the tremolo on the tone and the banjo a sharp staccato t~n·e. This is decidedly mando.cello unless performed by a most proficient player incorrect and.l believe is one of the ' reasons why many will .be heard very plainly against the sustained note of the musicians hearing a mandolin orchesya with fi~ s t banjo 'cello. If the parts are different, then the picking of the playing continually on the mE'lody P4it do not give more mando-cello is not heard so plainly. The carefully made credit to the possibilities of tre mandOUn orchestra. The mando-cello of today is very similar in tone .quali ty to the banjo may at times in quick loud straibJ pl ay with the fi rst regular 'cello. In an orchestra of from 2S to 30 players, mandolin a measure or two at a time but as a rule it is two or three mando-cellos and one or two violon·cellos much bettt'r to have the banjo plaY. a counter strai n or playing toge ther makes this section of the orchestra very a characteristic accompaniment obbligato. Used in this strong, and the sustained effects which may be produced way, the instrument becomes a useful adjunct. In marches by a number of these instruments are indescribably beauti­ or pieces of si miliar tempo the banjo is very effective when ful. One of the most interesting numbers for a concert used with rolling triplet accompaniment, appeggio or ordi­ program is a violon-cello solo with mandolin orchestra nary bass and after beat accompaniment and occasionally accompaniment. A solo of this kind is now and then to be the counter strain in the mando-cello part or 'cello part may seen upon the programs of our leading mandolin orchestras. be played on the banjo with good effect. The counter The old fashioned 'cello part written by the old strain should appear in the banjo especially when there is arrangers is fast disappearing. It was customary 2S or So no mando-cello or 'cello in the orchestra. Unfortunately years ago to have the 'cello play the double bass part many arrangers for full mandolin orchestra understand only practically all through a composi tion, but as the instrument the mandolin family well or the banjo family well and in came into greater popularity, the parts began to be more trying to arrange for full mandolin orchestra, theyfrequently interesting and it is in the Obbli gato and counter strain spoil the effect that might be obtained from a good com· effects that the careful arranger of today excels. As in the position by not carefully wielding the va nous parts together case of the flute the arranger of a 'cello part should under. l:1to a perfect arrangement. stand not only the mandolin but the cello as well. He (C.onllnll" In Novtmber CItISCE/'IDO) • The Cre.scendo Valuable Points on Teaching B!I c. S. D eL c1I1I. o. / In the present article I shall not dwell on an y definite and in this way by showing me the number of hours given rules in teaching, but mther gi ve some of the methods I to their work ellch week, they at once tnke pride in making employ, all of which have been lea rned by years of as good a record as possi ble. If you have two young ex perience and tried w ith marked success. pupils about the same age and adva ncement, arra nge thei r J consider teac hing an art and by no mean s possessed p.Ji[iods to follow one another. G i ve them the sa me solo by all who are performers. The instructor must, first of all work and use 10 minutes of each period in drilling them be possessed of three requisites : first, the art of impart. toge ther with your accompa niment on the guitar or pi ano. ing in it co ncise and s im p l ~ manner his knowledge to others; L.: se all means possible to keep them interested.
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